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Search Result for Artist Lubelski
viewing 1 To 9 of 9 items
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DAK 024LP
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"Samara Lubelski builds delicate and intricate structures of webbed and sugary filigree but will also close her fist around a newly formed world just to watch what color it is when it oozes between her fingers. This music is the sound of becoming and unbecoming, of creation and destruction. The bow acts as an erase head on a tape machine in this context drawing half arcs that are then erased and redrawn with each stroke. Diving tones that circle back but to a new origin point and echo out endlessly. A Jim Starlin cosmos built of clusters and a kind of freeform geometry. Though creeping and alien there is also something very lyrical about this music, a poetry of momentum and stasis. Every move seems to create its immediate opposite -- patience/impatience, kinetic/fatigued, straight/curved, like opening a paper cutting to reveal its repeating shape but in a binary of opposition. 'Vol 1' begins with a descent into a world that is new and chaotic. The accretion of delicate shapes and the chaos of young jagged landscapes. A core rising in temperature, forcing out bubbling and colorful liquids in explosions and dripping piles. While in the distance a gaseous horizon line percolates into nothingness. With 'Vol 2,' listeners start with something more settled -- while still alien and exploratory there is an eye towards terraforming. A sense that we could settle here in this place where the wind screams through towers of glistening plants while geysers of silver viscous liquid arc into the sky and freeze there. By the end a silver and mirrored thread has looped together the mutating present with the far off and unknown and we are both here and gone. I hear in 'Vol 1' and '2' a stunning commitment to a liminality of sound. A denial of firm ground. It reminds me of 'Nordic skating,' the skaters that seek the black ice, the thinnest ice, to skate on. That's where the acoustic properties are the most beautiful and striking yet also where the most focus must be applied. Movement must be constant, not only to produce the sounds, but to avoid falling through." --Bill Nace, Philadelphia 2025
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Cassette
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FTR 390CS
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"Recorded at three dates on a 2019 tour of Western North America, this new release by the reboutable duo of Marcia Bassett (guitar) and Samara Lubelski (violin) is the first trade release of a tape originally done in an edition of 23 to be sold on tour. The music is as brilliant as it always is when these two stars collide. Marcia's control of feedback drones is exquisite and pairs perfectly with Samara's long-tone string work. The three pieces here are uniformly awesome assemblages of harmonic frequencies and textures that flow into each other as though they were poured from a single head. The two shorter pieces on the a-side slide through each others' tone holes like electric eels playing basketball with hoop snakes. It can be hard to differentiate sources for the individual voicing, but the results resonate with glowing purity of purpose, and a sort of feverish dream logic that ebbs and flows like blood. The longer piece on the B-side is a full-on carousel ride through a landscape shifting constantly beneath your feet. It's like riding the break of a slow-motion earthquake, where the land itself forms curls you can shoot through if you have the balance to hang on. It's great stuff to hear if you happen to live inside the west coast's 'Ring of Fire,' but it's also mighty fine listening heard from the safety of the Pioneer Valley. Or wherever you happen to reside. So do it." --Byron Coley, 2022
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LP
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FTR 520LP
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"The fourth album that Samara Lubelski and Marcia Bassett have recorded as a duo -- the second for us, following 2017's Live NYC (FTR 302LP) -- is much less about drones than some of their previous work. Morning Flare Symmetries blares like a ram's horn blown as a call to angelic battle. Everyone has been unanimous in agreement that this improvising duo has achieved a new highpoint in the musical histories of both Samara and Marcia. They each have deep roots in the East Coast sub-underground, with a whole dang lot of band names between 'em, but in this configuration they just continue to get weirder and better on every outing. The string blend they manage to invent is a hugely psychedelic wave that washes over everything in its path. And when you're enveloped in its massive flow, you are hauled along by sonic forces that are way beyond your control. Some parts are soothing, others are eruptive, but they work a really amazing push-pull on your brain, so that the individual sections don't feel competitive so much as complimentary. Like thousands of tiny thumbs urging your spirit to free itself? Sure, why not? I absolutely encourage you to check out all of their albums. but this new one is a particular killer, so maybe you ought to start right here." --Byron Coley, 2020
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LP
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FTR 302LP
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"This is the third LP to feature the exquisite improvising duo, Marcia Bassett and Samara Lubelski. And as great as the first two were (on Kye and Golden Lab (ROWF 047LP, 2015), respectively), Live NYC is even better. It elegantly shows just how much brain damage you can do using only a guitar and a violin. The pair have deep deep roots in the East Coast sub-underground. Marcia's solo projects and work with groups (Un, Double Leopards, Hototogisu, GHQ, Zaika, etc.) has been exploding minds since the mid '90s. The same is true for Samara, except her history reaches even further back, with non-solo-aktion including bands like Tower Recordings, Hall of Fame, Chelsea Light Moving, Metabolismus, and too many more to name. But neither of them has really destroyed on the pure level they manage to sustain with this duo. The two sets were recorded on different nights, at different venues, and their sound is as variated as could be. The first side, recorded by Bob Bellerue at Knockabout Center, is a tale of twinned and lightly fuzzed tones, twirling and blending in the air like a lost track from Heldon's It's Always Rock & Roll (1975) (or maybe a Fripp & Eno radio broadcast from 1974). The threads of sound absolutely phosphoresce. It's an incredible mix of motion, stillness and power all wrapped up in a psychedelic diaper. The other side, recorded by Kevin Reilly at Trans Pecos sounds more like some crazy BBC Radio Workshop soundtrack to a Peter Cushing science fiction tragedy. The feel is pure outer space, with all the vast emptiness and glittering promise that implies. I'm having a hell of a hard time figuring out which approach I like better. But they're both incredible sonic shards. And the silkscreened cover art is pretty amazing in its own right. Hard to think of what more you could ask for. Except maybe a sandwich." --Byron Coley, 2017 Silkscreen printed covers by Neil Burke; Edition of 400.
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LP
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ROWF 047LP
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Marcia Bassett (Double Leopards, Zaïmph) and Samara Lubelski return with 110 Livingston. This is the second album from this weighty pairing of two of America's most audacious psychedelic drone proponents, following the stunning Sunday Night, Sunday Afternoon, released in 2012 on Graham Lambkin's label Kye. Bassett's guitar processing squashes otherwise raging howls into densely packed tones of feedback wail, and blends with Lubelski's long violin voyages into the drone zone to form a combination that's wondrous to behold. One side-long trip and three shorter but nevertheless expansive explorations of black magic meditation. 140-gram vinyl presented in a matte sleeve and limited to 250 copies.
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CD
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DESTIJL 115CD
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"First lady of winds and stars Samara Lubelski returns to her once and future label home for her sixth album, Wavelength, and the spheres harmonize at the news. Wavelength comprises a dozen new arrowed whispers, Samara's feathery touch on guitar and microphone now so at balance with the elements that the whole, her music and the air it enters, become inseparable. Don't be fooled by the persistent 'psych-folk' labels she gets - oh, they may be accurate as far as modern usage goes, and that scene is now as it was then, but Wavelength is an electric record through and through. Everything comes to life in light, the guitar speaking in radiant strums and felt-tip leads, her violin calling up everything that glows and grows in the dark. Funny how nature always seemed to work everything out fine on her own before we showed up, huh?"
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LP
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DESTIJL 115LP
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LP version. "First lady of winds and stars Samara Lubelski returns to her once and future label home for her sixth album, Wavelength, and the spheres harmonize at the news. Wavelength comprises a dozen new arrowed whispers, Samara's feathery touch on guitar and microphone now so at balance with the elements that the whole, her music and the air it enters, become inseparable. Don't be fooled by the persistent 'psych-folk' labels she gets - oh, they may be accurate as far as modern usage goes, and that scene is now as it was then, but Wavelength is an electric record through and through. Everything comes to life in light, the guitar speaking in radiant strums and felt-tip leads, her violin calling up everything that glows and grows in the dark. Funny how nature always seemed to work everything out fine on her own before we showed up, huh?"
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LP
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E#110LP
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LP version with glossy insert.
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CD
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E#110
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"Samara Lubelski's 5th solo LP Future Slip serves up a gorgeous and friendly collection of bittersweet melodies, sinister basslines, gestural Polaroid lyrics, and spot-on drumming- garnished with sprigs of fuzz, paired with a guitar Riesling. It is a record of knowledge and innocence, of truth and fairytale, of wonder and clarity. Envision France Gall performing the songs of Sterling Morrison and Mo Tucker with Ralph Molina on drums. The show is at a loft across Bowery from CBGB's and the only person in the audience at soundcheck is Jandek, cross-legged in the middle of the floor. Produced by Thurston Moore. Our story is already in progress as of the late '90s. NYC native Lubelski's howling, droning/pizzicato/Psycho violin rides atop Neu! inspired beats and alongside budget guitar arpegiations in the group Hall of Fame -- a band excellently obsessed with the second Red Krayola LP, Gamelan orchestras, and amassing bewildering piles of equipment and cables onstage. Occasionally she picks up the guitar and sings a 'proper' song, though it is only partly discernable among the rumble and flicker. Like some sort of two-way prism, all of the components of what would eventually be called the New Weird America passed through the Hall of Fame/Tower Recordings bottleneck in New York. The beardo folk, the freeform improvisation, the Krautrock, heavy psych, 20th century avant-garde, ethnographic field recordings, the Godz, the Fugs. This rainbow of influences was all turned into a single blistering white light on free Monday nights at the Cooler and gallery parties. The scattered releases made by Hall of Fame/Tower (the latter of which Samara joined) were glued to turntables from Atlanta to Brattleboro, and their influence passed outward into a variegation of likeminded fellow-travellers. After those bands ended, Samara made the crucial In the Valley album (with M.V. producing) and then announced she was going to make a pop record. Over the course of 3 LPs on the Social Registry label, the occasional murmur from the Hall of Fame days became a full-blown songwriting affair. Samara found a working method that she continues with to this day: Cutting basics in her second home of Stuttgart, Germany with members of psych-freakers Metabolismus and bringing the tracks back to New York to collaborate with her U.S. cronies, which this time includes PG Six, Helen Rush, Steve Shelley, Willie Lane, Nicolas Vernhes, Werner Notzel, Moritz Finkebiner, and Thilio Kuhn. In 2007 longtime fan Thurston Moore recruited Samara and her violin skillz for his Trees Outside the Academy album and tour. Familiar with the solo work, Thurston wanted to hear a new type of record from her: more confident, bolder. He offered an Ecstatic Peace! release if he was allowed to produce. Samara poached drummer Steve Shelley for her band, adding the missing backbeat to a swarm of overdubs. Thurston produced the mix sessions; lying sick on the couch calling out for more and more elements to be louder until a wonderfully aerodynamic version of the songs flew forth. And here is the result: Future Slip is a worldly record, a record which offers 'a taste of the new dimension' but warns of 'guru bummers'. To a sunny day it adds the shadows which allow the perception of depth. On a rainy day it offers a selection of cakes. Anyone who does not dig this record deserves our pity, as they know nothing about the joy or sadness of life."
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